Motion Picture News (Jul - Sep 1930)

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July 5, 1930 Motion Picture N e zv s 41 Opinions on Pictures The Richest Man in the World (M-G-M—All Talker) Fine, Human Attraction (Reviewed by Sherwin S. Kane) THIS is a distinguished and often beautifully acted production. Situations which, with another cast, might have been ridiculous or trite at best are moving and intensely real. Credit for the unquestionable worth of the picture must go to Louis Mann who, with "The Richest Man in the World," makes his talking picture debut. It is a debut comparable only to that of George Arliss's in "Disraeli." Direction, too, has played an important part in making an achievement of this picture. Sam Wood has exercised commendable restraint in the handling of sequences which might easily have overflowed into cheap hysterics. Instead the sequences remain startlingly real and human. There are a few instances, it is true, when one is conscious of a let-down, a waning of interest which some minor cutting might have modified. Emphasizing this, however, are the emotional heights which the picture frequently attains. The story itself is a theme that should be popular with any and all audiences. We have no doubt but that it fits perfectly and completely into that valuable category of pictures which go their way through word-of-mouth advertising. This one is deserving of that popular tribute. "The Richest Man in the World" is the chronicle of the love of a German-American barber for his children. His riches are solely of the heart ; his wealth, the love of his children, whom you first meet as youngsters in a progressive eastern town. You see lavished upon them a paternal affection that is as dignified as it is generous, tender as it is understanding. Adolf Wagenkampf's children are his life, and there is no sacrifice he would not make for their well-being or happiness. On the point of investing his savings in a building and loan association in the rapidly growing town in which his barber shop is located, he is called upon to make one such sacrifice ; the first of many. His savings are employed to send one of his sons, in poor health, to a sanitarium. His friend, Joe Higginson, the grocery clerk, launches the building and loan association without him, and as the town grows, it prospers, and Higginson becomes a power in the community while Wagenkampf remains a barber. The children grow up. Another telling sacrifice is made to pay for the medical education of the eldest son. When he returns to a love other than that of his family — it is difficult for the ageing father to understand why it was necessary for a young doctor to "Americanize" his name. But he forces himself to understand, and mortgages his barber shop to obtain the money for his son to open an office and begin his medical practice. The son, secretly married, uses the money to buy a home for his bride. The second son is inventive, and in pursuing his hobby accepts the sort of job that places the least demand on him. He becomes a collector for an electrical company. There is a shortage in his collections and, threatened with arrest, the father gives the last of his savings to make good the deficit. With this stigma upon him the youth is unable to obtain employment in his home city, and disappears. The youngest daughter falls in love with the ne'er-do-well son of old Higginson. Tn a scene that might have been maudlin in less capable hands she confesses to her father of intimacy with young Higginson. He seeks out both father and son, asking marriage for his daughter, but is told the thing is out of the question because of the social inequality of the two families. In one of the most effective declamations the talking screen has yet given, Louis Mann denounces the principles that have supplanted human sympathy in the heart of his friend and wins the youth to his side. Unable to obtain money from his son, now a practicing physician, the father sees Higginson foreclose on the shop. On a Christmas Eve, after having watched the authorities take possession of his business, he returns to his wife in the home from which all of the children have departed. But the younger son, an invention of his having proved a success, returns, and is followed by others of the family. This ending, smacking as it does of the customary hokum, is elevated here, as in other sequences, to dignified and believable heights by the pure merit of the cast. Individual ability removes this as far from sloppy sentimentality as is finished acting removed from mere talent, while the ordinary qualities of the situation leave the achievement of the principals all the more to be marvelled at. The story is relieved by touches of homely humor, so natural and human as to be certain of responsiveness in any audience. Settings are genuine and effective. The barber shop scenes are exact to the smallest detail, as are those in the old fashioned home of the Wagenkampfs. The entire cast is superb, with Louis Mann outstanding. Elliott Nugent as Johnnie, the younger son ; Robert Montgomery as the irresponsible Nick Higginson; Leila Hyams as Alma, the youngest daughter, and Francis X. Bushman, Jr., as Ludwig, the eldest son, are particularly deserving of mention. Henry Armetta, as Tony, the assistant barber, does a splendid characterization in an unimportant role. The juvenile cast, too, is well chosen. There is no theme song. Musical shorts are needed. Almost any type of light short, too, zvill work in well for a balanced program. Produced and distributed by M-G-M. Directed by Sam Wood. Story by J. C. and Elliott Nugent. Adaptation by Samuel Omitz. Dialogue by Elliott Nugent and Clara Lipman. Photographed by Henry Sharp. Edited by Frank Sullivan. Length, 7,775 feet. Running time, 86 minutes. Release date, June 27. THE CAST Adolf Louis Mann Nick Higginson Robert Montgomery Johnnie Elliott Nugent Alma Leila Hyams Martha Wagenkampf Clara Blandick Laura Mary Doran Ludwig Francis X. Bushman, Jr. Joe Higginson Robert McWade Ted Baldwin Dell Henderson Tony Henry Armetta Katherine Jane Reid Paradise Island (Tiffany— All Talker) Very Weak (Renewed by Don Ashbaugh) CHARACTERS bursting into song at unexpected moments add a certain element of surprise to tin's South Sea Island picture which is chiefly distinguished by the excellent comedy of Paul Hurst and the rather pleasant singing voice of Kenneth Harlan. The offering, however, has nothing more than average program rating for splitweeks and daily changes. The story is as old as pictures, and unfortunately has been given no new twists to lift it out of the rut. Interest is maintained fairly well after the picture gets under way after a very slow start. Marceline Day arrives 'on the island to marry her fiance, but finds that he has gone into debt heavily through gambling to Tom Santchi. The latter sees the girl's predicament, and tries to help her, figuring she will eventually fall for him instead of the fiance. Then Harlan puts in an appearance, wins back Wood's notes from Santchi and finally th? girl. There are two fights in the picture, the first one being of mighty poor calibre. An amusing twist to the second is provided by Hurst, who steps in to save the struggling dramatic episode with a burst of comedy. "Paradise Island" offers little in the way of entertainment and will find its spot in the double bills, split weeks and daily changes. Good shorts, with box office "names," needed here. Produced and released by Tiffany. Story by M. B. Directed by Bert Glennon. Length, not set. Release by Byron Robinson. Photographed by Max Dupont. Directed by Bert Glennon. Length, not set. Release date, not set. THE CAST Thorne Kenneth Harlan Ellen Marceline Day Lutze Tom Santchi Beauty Paul Hurst Pbppi Betty Boyd Swede Vic Potel Armstrong Gladden James Juno and the Paycock (Harold Auten— S. R.—All Talker) Impressive (Revicived by J. P. Cunningham) ONLY too seldom does old Johnny Bull send to our shores a production combining such fine dramatic sequences and splendid portrayals as those found in "Juno and the Paycock," a convincingly told story which colorfully reveals the burdensome trials and tribulations of a poverty stricken Irish family. The strong flavor of Catholicism which all too obviously winds its way throughout the story may sound the deathknell of its value for straight picture entertainment, despite the fact that this trait of religion is a natural part of the scheme of things in most north-of-Ireland families. The narrow-back fanatics, particularly those in southern U. S., will probably turn (thumbs down, vigorously condemning the production as a pro-Catholic plug. We suggest that you give this angle considerable thought before booking. It might save you from the loss of customers who find a mixture of intimate religion with picture making distasteful. Otherwise, "Juno and the Paycock" offers convincing screenfare, and communities sympathetic toward the race and religion will receive it with open arms. From the angle of production, there is little to be looked for. Masterful portrayals by the . entire cast convince us that England has much of the human element so necessary in talkers, at least in this cast of eleven. The direction and photography are worthy of praise, and sound stacks up as favorably as any emanating from the studios of American producers. Although diction is clear, the English twang of most of the players make it appear obvious that there's very little of Ireland in their makeup. At times, the lingo is a bit hard to grasp, but generally no fault can be found with the dialogue. Alfred Hitchcock's touch of naturalness in construction gives the picture a twist which is most human, effectively using that humorous me of comedy which is usually found in those of Irish ancestry. Hitchcock, too, reaches touching dramatic depths in telling his story. He makes you "feel" depressing moments of sorrow, and then quickly follows with cause for joy. Slapstick _ and a sound cartoon are best suited to this. Produced at Ellstree studios, London, by HaroH Auten. Distributed in U. S., via state rights market, by Harold Auten. Directed by Alfred Hitchock. Story by Sean O'Casey. Adapted by Alfred Hitchock. Scenario by Alma Reville. Photography by J. J. Cox. Art director, J. Marchant. Released, June 28, 1930. _ Length, 9,100 ft. Running time, about 1 hr., 31 minutes. THE CAST T»he °,r?tSr Barry Fitzgerald Mrs. Madigan Marie O'Neit Captain Boyle Edward Chapman Joxer' Daly Sidney Morgan Mrs. Boyle ( Juno") Sara Allgood Johnny Boyle Jonn Laurie Ir,y £ev,me Dave Morris Mary Boyle Kathleen O'Regan